The first step in making a dress that fits flawlessly and captures your distinct style is creating a solid foundation. This basis is provided by the fundamental pattern, which offers an infinite number of possible variations. With the appropriate methods, you can turn a basic base into a one-of-a-kind design.
Making these changes requires an understanding of the fundamentals of dress modeling. You can modify a basic pattern to create a variety of looks, from casual to dressy, by becoming proficient in a few techniques. This method guarantees that the finished dress fits flawlessly and satisfies your unique requirements while also saving time.
We’ll examine these ideas and techniques in this post, leading you through the process of altering a simple dress pattern. These techniques will help you take your dressmaking to the next level, regardless of your sewing experience.
The secret to modeling a dress based on a basic pattern is knowing how to modify and adjust it to make distinctive designs that suit different body types and fashion tastes. A basic template can be turned into a dress that looks professionally tailored and perfectly fits your vision by making simple changes to the basic pattern, such as changing the length, waistline, or neckline.
- Patterns
- Material
- Modeling
- Transferring bodice darts
- Transferring darts and relief to the neckline
- Transfer the dart to the folds of the neckline
- Transfer the dart to the neckline assembly
- Transferring the dart to the armhole
- Transferring the relief to the armhole
- Transfer the dart to the side or center seam
- Transfer the dart to the yoke
- Ideal dart for full figures: video mk
- Translate darts into reliefs
- Relief line through the top of the dart
- The relief line does not touch the top of the dart
- Working with reliefs: video master class
- How to make round cutouts? Transferring the dart to the neckline: video master class
- Modeling yokes
- Constructing a pattern of a straight yoke
- Constructing a pattern for an oval yoke
- Modeling the sleeves
- Lantern gathered along the armhole and the bottom edge
- A lantern, gathered only along the armhole
- A lantern, gathered only along the bottom edge
- Sleeve "Wing"
- A wide sleeve
- Shirt sleeve
- Wide one-seam sleeve
- Drapery as an element of modeling
- For what fabrics is this modeling technique suitable
- Types of drapery by design solutions:
- Example of creating draperies
- Pattern of a dress with a drapery knot from knitwear Modeling a dress from a basic base: video mk
- Layout modeling
- How to change a pattern to your size
- Video on the topic
- Lesson 3. Drawing the Basics of a Dress. The most complete and detailed construction of a pattern. One Hundred Steps of a Tailor
- Construction of a Basic Pattern of the base of a shoulder garment! From A to Z ! by Nadia Umka!
- Modeling dresses. We make a pattern of absolutely any style of dress ourselves
- CHINESE METHOD OF CONSTRUCTING A BASIC BASIS BY THE CALCULATION METHOD. BY 3 MEASUREMENTS.
- The whole essence of clothing design in 10 minutes
Patterns
Several constructions are made while modeling under a pattern. It is absolutely essential for novice cutters to have at least a basic set of these tools. For the first time, a set of two or three universal templates is more than enough. It will become evident during the work process which patterns remain necessary.
Material
Plastic is used to make patterns most of the time. If the plastic is transparent, that is the most practical choice. The cutter is able to view every drawing in this instance.
Both wooden and metal patterns are present. Such a tool can also be made by you out of plexiglass.
When the pattern has linear and angular dimension graduations on both straight and rounded sections, with sizes marked in 1⁄2 and 1⁄4, it is convenient.
Modeling
The most widely used modeling techniques are shaped profiles, undercuts, and dart transfers.
Transferring bodice darts
We use a bodice pattern with a dart on the shoulder cut as the foundation for our modeling. Here is a drawing that illustrates some different dart transfers. The blue areas indicate where a cut is made for a new dart. Simultaneously with the closure of the original dart, a new solution is formed.
Similar transfers of darts occur into undercuts, relief seams, and a yoke.
Let’s take a closer look at each choice.
Transferring darts and relief to the neckline
As the foundation for the dress, we will take the basic pattern, transfer it to a new sheet with all the lines, and cut it out.
A straight line to the roll-out will be drawn starting at the dart’s "a" corner. Its placement is chosen at random or in accordance with the specifications of a particular model.
We cut in accordance with this marking, seal the shoulder dart, and secure it with tape. Consequently, a revised bodice is produced.
When moving the relief to the neckline, we proceed in the same way. In this instance, the central (= 1) and side (= 2) components make up the basic bodice pattern.
Draw a straight line from point "a" to the roll-out, then join the two sections by connecting them with a straight line that ascends from this point. In this instance, the chest area’s central shelf portion appears to be angular. We use patterns to wrap it up.
Transfer the dart to the folds of the neckline
Retake the fundamental pattern. We draw a straight line from point "a" (highlighted in red in the drawing below). We close the bust dart and cut the pattern along it.
We draw lines from "a" to the neckline. The number of folds determines their number. Three straight lines, or one more, should be present if two folds are modeled. Cut the pattern in line with them, seal the side dart, and leave the fold-areas open. The solutions’ sizes ought to be roughly equal in this situation.
Take new pictures of the bodice on a different piece of paper. Pin and lay the folds. Verify the roll-out’slength,align its profile, and trim any excess. The roll-out line’s length and shape should match the main pattern’s length if everything is modeled correctly.
Transfer the dart to the neckline assembly
Drawing straight lines from point "a" to the roll-out on the reshot basic pattern on a different sheet is shown in the figure below. Make incisions and shut the bust dart. Approximately equal intervals should be used to spread the pattern on the cuts. Take another shot of the bodice’s expanded pattern. The width of the closed dart is equal to the additional length of the assembly with this modeling.
Transferring the dart to the armhole
We move all of the constructions and the main pattern to a new sheet in order to simulate such a transfer. We draw a straight line to the armhole from point "a". The dress model specifies the precise direction. This line can be drawn to any point on the armhole. We cut in this direction, close the shoulder dart, and then open the armhole.
To make the dart’s highest point less sharp, shorten it by one to two centimeters. We iron this section to the greatest extent possible using additional wet-heat treatment (WHT).
Transferring the relief to the armhole
Let’s look at the basic bodice design that provides shoulder relief. We’ll have to figure out how to move it to the armhole now. The central and side parts are our two halves.
Join the components at point "a". Draw relief to the armhole from there. It is preferable to draw it beneath the pattern, but it can take any shape. Cutting along the marked line, we close the bodice sections above point "a" and close the dart.
Two more bodice sections were received.
Transfer the dart to the side or center seam
Take back the fundamental design, moving all of the lines and control points. Draw a straight line to the side seam from point "a." If there are no explicit requirements, the model determines its direction based on your priorities. Cut along the marked line, close the original dart, and open the dart in the side seam, which is the new location.
In a similar manner, you can move the designated dart to any height along the bodice’s center line. Draw a straight line at the necessary angle from "a." After cutting the pattern on the indicated line, close the initial dart and open it on the line in the middle.
Transfer the dart to the yoke
Take another sheet and reclaim the bodice’s base. Measure the height of the yoke from the base of the neck on the basic pattern; on the drawing, this distance is represented by "bc."
Use the segment "ad" darts to join the tops of the chest and waist. We chop along this section. Put the bust dart away. To reach the armhole, extend the yoke line.
Using tape, close the bust dart above the yoke line. Slice the yoke portion at line "c." Set aside the completed yoke design. Restore the waist dart by opening the lower portion of the bust dart.
Should the lower portion of the bodice feature a relief seam, the relief line is designed with a gentle curve.
Ideal dart for full figures: video mk
Translate darts into reliefs
The construction principles are the same as in the standard dart translation. Let’s look at two possible relief line options. Take back the template and begin to model.
Relief line through the top of the dart
On the armhole line, we draw a pattern line from point "a" to point "b." The dress model or your preference will dictate how the line is configured. Stretch the waist dart out to "a". We cut and close the bust dart along the line "bac".
If the lines on the part patterns ended up being somewhat angular, we rounded them off.
The relief line does not touch the top of the dart
Make the relief line. On it, replicate the waist dart. The relief line should be followed by the dart axis.
Take out the old waist tie. Along the relief line, cut out the new dart’s solution completely. Draw a line to the relief line, just below the chest line, from point "a."
Make a cut in both the relief and the drawn line.
Put the bust dart away.
We replicated the relief patterns on the shelf and a portion of the bust dart. The side was cut out as a separate piece.
Working with reliefs: video master class
How to make round cutouts? Transferring the dart to the neckline: video master class
Modeling yokes
The four primary styles of back and shelf yokes are oval, angular, figured, and straight.
Constructing a pattern of a straight yoke
Reshoot the shelf’s bodice’s basic pattern, transferring all of the lines and markings.
Make a cut and join the tops of the darts with the segment "ab." Shut the bust dart and secure it using tape.
Make a yoke line and trim the portion. Depending on the model, open or close the remaining bust dart. In instance number two, the waist dart stays open.
We also draw a yoke line based on the bodice’s back. Typically, the yoke’s height marginally surpasses the back shoulder dart’s length. Close the dart on the back and cut along the drawn line.
Constructing a pattern for an oval yoke
Retake the front bodice’s basic pattern and transfer all of the marks and lines.
Make a cut and join the tops of the darts with the segment "ab." Shut the bust dart and secure it using tape.
After drawing an arched yoke line, trim the portion. The oval yoke and the bodice bottom are premade patterns that we receive.
Modeling the sleeves
Lantern gathered along the armhole and the bottom edge
Take back the primary pattern. Regarding the fundamental design We cut off the sleeves after measuring them to the necessary length. The perpendicular is lowered from the armhole "1"’s highest points, and the pattern is cut along it.
To get the desired gather size, we separate the sleeve sections. We sketch a fresh line for the armhole, raising it by one to two centimeters and creating a smooth pattern curve. We use notches to indicate the gathering boundaries at the top and bottom of the sleeve.
A lantern, gathered only along the armhole
We create a working version of the basic pattern with the desired length, just like in the previous version.
We draw lines several centimeters away from the lower edge, parallel to it. A perpendicular to this line is lowered from the armhole’s highest point. Next, as shown in the drawing, we cut the base along these lines and separate it to the appropriate angle. We draw out the updated sleeve shape, smoothing out the armhole and straightening the side cuts. We make adjustments to the bottom line so that it is perpendicular to the side cuts in the corners. The pattern is moved to a fresh sheet.
A lantern, gathered only along the bottom edge
In a similar vein We create a working version of the fundamental pattern with the necessary length for the prior iteration.
We create a line that joins the armhole’s lower points. We lower the perpendicular to the bottom line from its center. Subsequently, as illustrated in the figure, we cut the pattern along these lines and push it out. Draw a smooth line along the new sleeve contour, circling the lower edge. erasing the design from a fresh sheet.
Sleeve "Wing"
We utilize the pattern of a direct single-haired sleeve as a foundation. After measuring the required length, we repeat the design on a different sheet. We descend the perpendicular to the bottom line starting at the highest point of the okat. We draw vertical lines and symmetrically divide the sleeve’s width into equal sections from him in both directions. After that, we cut the base along these lines without cutting the okat line by 1 or 2 mm.
Arrange the pattern’s components to create equal sections with extra width. You have to realize that the length of the sleeve’s lower cut increases in direct proportion to the number of sections and the angle at which each section is exposed.
We recreate the patterns by sketching new shapes for them.
A wide sleeve
You can model this model using a shirt or a one-seam set-in sleeve.
Shirt sleeve
Retake the fundamental pattern.
Drop a perpendicular to the bottom line from the cap’s highest point. The base should then be cut along this line and separated to the required angle as shown in the drawing. Describe the sleeve’s new shape. We will raise the cap, smoothing out the side cuts and shaping it with a smooth line because it dips slightly at its highest point. Use a smooth line to draw the bottom line.
Wide one-seam sleeve
Duplicate the foundational pattern.
Drop a perpendicular to the bottom line from the cap "a"’shighestpoint. The base should then be cut along this line—see drawing.
To get the desired size, cut out the pattern following the cutting line. Drop a perpendicular from point "b" and mark point "c." In a similar manner, build segment "de". Join "d" and "e" points together with a straight line. The sleeve can be rolled up one size if needed. It is crucial that the segment "af" has the same width on both sides.
We sketch the updated sleeve’s shape.
Drapery as an element of modeling
At first glance, dress patterns with draperies appear to be quite intricate. This is a misleading belief. We will now talk about the fundamentals of modeling these lovely components. You can use draperies to create a range of eye-catching and fashionable image options. This modeling technique is straightforward and fascinating.
Firstly, you should be aware that there are two main categories into which all draperies are typically classified:
- the fabric flows directly over the body. When modeling on a piece of fabric (solid or sewn from parts), a rollout and armholes are made. The rest of the dress lies freely in folds and gathers;
- draperies are created over the lower main dress. By varying the place of stitching, the density and shape of the drapery, you can create unique models.
For what fabrics is this modeling technique suitable
We will state that draped dresses made of dense, even wrinkled fabrics also look very beautiful, dispelling the myth that only soft, flowing fabrics are appropriate for drapery. However, handling such material calls for specific abilities. Thus, it’s best to become proficient at draping more "compliant" fabrics in the beginning.
Types of drapery by design solutions:
- over the shoulder: sewn onto the underdress. The prepared piece of fabric is thrown over one shoulder. Such drapery is fixed in two places – on the shoulder seam and on the waist (or hips) with a hidden seam or a special cut detail;
- with a wrap: assume the presence of an underdress. This model is ideal for problematic figures. Made from the shoulder and the bottom edge of the dress.
- tunics: made both with and without an underdress. The cut for tunics should be on the bias thread;
- swings – a separate type of drapery with serious modeling of the dress details;
- drapery of the side seams: made according to the general principle. First, we lengthen the details, then gather them along the side seam, shortening to the desired length. For gathering, it is convenient to sew a thin elastic band along the seam, stretching it when stitching. The tightened elastic creates horizontal draperies;
- sector: draperies are created on a separate piece. It is cut out larger and gathered along the edges with elastic;
- with a knot: made on a base dress. Two pieces of fabric are tied in a knot, and the edges are draped from the knot;
- cross: made on a base dress. Two pieces of fabric are crossed between themselves, draping each on the opposite side.
Example of creating draperies
Let’s examine this dress’s design:
- the model is cut off at the waist;
- asymmetrical bodice, gathered on the left with elastic;
- the skirt has asymmetrical folds;
- a zipper is sewn into the right side seam.
Let’s now examine the modifications that must be made to the fundamental pattern step by step:
- on the full turn of the front pattern, draw the contours of the bodice, cut off the excess. It is asymmetrical cut-off. The contours of the hem still match the basic ones;
- draw lines corresponding to the direction of drapery. For horizontal folds, the marking lines should also be horizontal. Cut along the lines and move them apart.
Transfer the pattern to a fresh sheet and indicate where the elastic should be sewn in. There is no drapery on the back of the bodice, so no adjustments are necessary there.
*We must carry out constructions on the front hem pattern that result in drapery with folds of equal width at equal intervals. Mark four folds on the top and side cuts at equal intervals to accomplish this. Draw a smooth line connecting these points. The lines should have the same shape as the folds that are intended to occur in the future. Mark two additional folds that are situated to the left of the preceding ones.
*cut in the designated lines as shown in the figure. Cut off two left lines partially (we’ll just move them apart) and four parts completely. Arrange every component of the hem onto a fresh sheet. The separation that guarantees the creation of folds is up to you to decide. It is precisely correlated with the folds’ depth. We draw the part’s new contour, lining up the seams;
- we make the markings for the back hem in mirror image;
- along the side on the right, where the folds of the draperies will converge, it is more expedient to make the hem whole, without a seam.
As you can see in the picture below, we mark the fabric’s hem details. It will still be necessary to sew the top portions of the front and back hem patterns. Arrows are used in the image to indicate them. Don’t be confused by this, though, as we will start sewing the zipper from this height. The armpits to the designated section is where the fastener will go.
The sewing can begin now that the patterns are ready.
Pattern of a dress with a drapery knot from knitwear Modeling a dress from a basic base: video mk
Layout modeling
The ultimate cutting technique is pinning dummy modeling onto a mannequin. With this technique, clothes are made with pins directly on the model or mannequin. With this design, the model is instantly visible in volume, allowing you to assess its dimensions, component placement, and overall form.
Three methods exist for pinning:
- from a single piece of fabric. Used for the most complex things;
- when creating a pattern, square fragments of fabric or paper are pinned. In this case, the work is simplified, in addition, we save material;
- combined method. Finished fragments are fixed on the mannequin, choosing the optimal arrangement.
The correct arrangement of the weft and warp threads, as well as the direction of the seams and darts, are the fashion designer’s top priorities.
During mock-up modeling, a single piece is thrown onto the mannequin from back to front in order to accurately account for the fabric’s plastic properties. They examine drape, elasticity, and other characteristics required to create the intended model.
After that, the cloth is taken off and re-thrown onto the mannequin, this time at a different angle for the shared thread. The fabric’s properties are examined in this orientation.
After deciding on the cutting direction, we move on to the layout. We pin the front by putting pins in the waist, the chest at its highest points, and the center of the neck line. We ensure that the primary thread stays in its intended direction.
Next, we shape the product and form the necessary volume. The roll-out lines, armholes, waist, hips, and upper chest darts are all marked with pins. We pin the fabric in these places if you intend to make a one-piece sleeve. Use the fabric behind the mannequin if the sleeve is raglan or set-in.
The order in which tattoos are applied can change depending on the model. After the fabric and pins are taken out, the final shape is sketched.
How to change a pattern to your size
Let’s be clear right away that traditional dress modeling based on a basic pattern is not the only application for this information. However, inexperienced seamstresses frequently encounter a scenario where the completed pattern of the model they like does not fit properly, or where the figure is non-standard and the top and bottom need to be cut in different sizes. In this situation, what should I do? There is a way to use pre-calculated increments to adjust the finished patterns’ gradient in a proportionate manner.
The primary standard used for this method is to execute the adjustment while maintaining the 2-cm gap between the dimensions. It is necessary for this interval to be stored along the chest line. The space from the waist to the 52nd p. is equal to 2 cm for small sizes and 3 cm for large ones. There is a 2 cm gap along the hips up to the 54th size and a 2.5 cm gap from the 56th size onward.
On the basic pattern, there are two main lines whose positions are fixed and all modifications are made in relation to these lines.
These are the tangents to the armhole and the chest lines for the front and back.
This is the line that connects the upper and lower ends of the front roll and the width beneath the armhole on the sleeve.
These are the hip lines and the center line of the front (or back) panel of the skirt.
Once the basic pattern’s main lines have been drawn, you can start making adjustments.
Please be aware that pattern modifications of this kind are acceptable for sizes 2-3. If not, the silhouette will be severely and unattractively distorted. The patterns can be changed by utilizing the diagrams below. To increase or decrease a size, add or subtract the specified values.
If you only need to adjust the height, follow the guidelines in the following diagrams.
Principle | Method |
Dart Manipulation | Move or split darts to change the shape of the dress |
Adding Volume | Use pleats, gathers, or flares to create fullness |
Length Adjustment | Shorten or lengthen the hemline for different styles |
Neckline Variation | Change the shape of the neckline for a unique look |
Sleeve Alteration | Modify the sleeve design to match the dress style |
Making a dress model based on a simple pattern is a fun and creative way to express your creativity. Any design can be made to match your own preferences and style by grasping the basic principles.
You can make a basic pattern into something special by using these techniques, whether you’re adding darts, changing the neckline, or forming new silhouettes. You’ll grow more assured in your ability to truly personalize your designs as you try more things.
As you gain experience, you’ll discover that these techniques open up a world of dressmaking possibilities, transforming your ideas into exquisitely made clothing.